Sericite Journal Two – 5 More Stones

Sericite Journal 2  – 5 More Stones

I arrive in Chuncheon from Seoul by bus and I am met at the coach terminal by my friend Mr Jung Do Sub, the Director of the Yanggu PorcelaIn Museum and Research Centre. He takes me to dinner and then home where I will be staying in his studio, attached to his house.

It’s a stunning new architectural space, it is so new that he is still working on it. Brutal, modernist, bare cast concrete on the inside, with a recycled brick cladding on the outside, heaps of double glazed glass facing the southern sun. (This is the northern hemisphere.) The sun comes right in onto the polished concrete floor. The cast concrete walls and roof are over 500 mms thick. I suspect that a lot of this thickness is taken up with some substantial insulation, as it hits minus -30 oC here in winter.

The next day we drive to the Porcelain Centre, where I start work immediately on getting things ready to make some work. 

There are a number of sericite porcelain bodies here for me to choose from. The number has increased since I was last here. There are two new ones that I want to try out. When I visit the clay processing facility a few hundred metres away from the Museum. I see one of the new raw materials, the whitest sample, revealed from under a green tarpaulin, just outside the clay stockpile shed. It is actually off-white, but quite pale looking when compared to the standard local sericite that is mined near by. However, when this new white material it is crushed and milled, the whitish raw material in the wet plastic state becomes somewhat darker. This is usual with clays and I’m used to it.  It becomes almost a pale khaki, buff beige colour, whereas the local sericite which is slightly greyish white when raw, becomes whiter when wet?

After stiffening, the resulting plastic pugged clay is mid khaki colour. I’m surprised to see that the fired sample from the reduction kiln comes out very pale grey from under the local standard pale celadon porcelain glaze. I’m intrigued.

There is a related material from the same pit that is slightly pinkish in the raw state, but processes to a pale apricot colour. A colour rather beautiful and very pleasing to my eye. This sericite body fires to almost the same degree of pale grey as the white sample, just a little bit darker, when reduction fired with the same base glaze. I’m quite surprised to see how similar they are after firing, just looking at the difference in the raw colour.  

 

I get to try all 5 different sericite porcelain bodies over the next week or so of throwing and turning. The original local sericite that is mined just up the road here is highly vitreous at stoneware temperatures and is prone to slumping, even at the lower stoneware temperature of 1260oC. However, with a small addition of JinJu kaolinised sericite obtained from farther south, the resulting mixture throws very well and stands up to the 1260/1270oC stoneware reduction firing very well. I have discussed this beautiful porcelain body at length in previous posts, so won’t dwell on it again here.

My first mornings work involves me securing a wheel space in the crowded workshop. This is a community teaching facility open to the public. It’s mandate is to communicate the history and beauty of the local porcelain, and to offer that experience to the general public. I’m the intruder here, a foreign oddity, here for just a brief moment in the very long history of this place. So I know my place and ask permission before doing anything. I don’t speak the language here very well – if at all. I rely on the translation app on my phone to get me through, so I’m careful to be polite and not get in anyone’s way. I know that translation app software out-put is full of errors, so I’m careful. Some of the staff have slowly come to trust me with their very basic English as well. This is my 5th visit here, so I am getting to know everyone. Together we slowly and carefully explore a more friendly, trusting, and may I say ‘intimate’ way of communicating in this strange mix of two poorly pronounced and impoverished lexicons, extended by faulty software. What a mix! We manage to work our way through the errors, pitfalls and misunderstandings. Trust and friendship slowly develops. I’ve come to really like and trust these wonderful people. I’m so lucky.

Next, I have to source some batts, get a few extrusions of this special local sericite porcelain body pugged and de-aired. Then I clean the wheel scrupulesly to make sure that there is no cross contamination of other clay fragments under the wheel head and in the edges of the tray. I don’t want to contaminate other peoples work with my experiments here when I toss my turnings into the recycling tubs. 

I sort out my tools and start to work up a lump of this marvellously plastic wet mica rock dust. It’s so hard to believe that it is not clay. At least not as we are familiar with the term in Australia. This body might have 10% of Kaolin in it, but that is all. The kaolin is not there to add plasticity. I have used the ‘Jinju Kaolinised Sericite’ that has been added to this mix straight by itself 100% and it is rather floppy and ‘fat’. The Bangsan sericite is plastic enough without it. What the Jinju material offers is not plasticity, but a slightly higher alumina content to increase its firing range.

An aside: Before I left home to come here I packed up three pots to donate to the Porcelain Museum. Pots that I made over the previous 6 months since my last visit here. I made these pots from stones that I collected myself, directly from out of the ground here. I had the resulting powder analysed and it contained only sericite and silica, so I know what authentic, pure sericite mica is like to throw with on the wheel. It can be amazingly plastic. This isn’t always the case though. The sericite that I collected from the ancient and abandoned sericite mine on Tregonning Hill In Cornwall was almost totally non-plastic, As was the siliceous sericite that I collected from the top of Sarri Mountain near Yeoju, here in Korea. The most plastic sericite that I have ever encountered was from Cheongsong in the south of Korea. A strange place, but marvellous clay. It is a pity that it is totally unavailable for foreigners to access due to the difficult personality issues of the manager of the site.

I should point out though that these most plastic Korean bodies are not the whitest. Surprise, surprise there! The whitest sericite is probably the extremely expensive ultra-white special grade of hand sorted Chinese sericite from China, near Jingdezhen. This ‘sericite’ is very hard to get, and not just because of its extremely high price. Following that is the highest white grade ‘Gao Bai Neantu’, version of Jingdezhen porcelain. It is very good, as is the hand-sorted white Amakusa sericite stone body from Arita, but the Amukusa sericite body is not anywhere near as plastic and also a little tricky to glaze fire due to its very high silica content.

Note to self: try a blend of Amakusa white with Bangsan cream. That would be an unholy pairing from Hell! Possibly considered a cultural crime, due to their difficult historical legacies, but it might work well? Each mitigating the short comings of the other. I just might try it in secret at home, where no one will be offended.

To return to my experiences here at Bangsan. 

I only get to start throwing by 11.00 am. I begin by making the clay ‘chucks’ that I know I will need tomorrow when my pots are stiff enough to turn their bases. A ‘Chuck’ is a hollow cone shape of fairly thickly potted clay. This is used to support the delicate rims of the pots while they are having their bases ‘trimmed’ or ‘turned’. I throw these chucks on ‘batts’, flat circular wooden discs,  so that when I pick them up off the potters wheel, there will be no warping. I want the chucks to be running true and perfectly round when I come to use them. Even so, I usually trim them and tidy them up when leather hard by trimming them with a sharp tool to ensure that they are as perfect as it is possible to get them. By lunch time I have my 4 chucks out in the sun and 3 larger sized bowls made as well.

  

In situations like this, I always start with the largest items first, then work my way down to the smallest pieces last. In this way, they are all ready for the kiln at the same time. No waiting for the bigger bowls to finish drying and holding everything up. My time here is limited. I only have a little over 2 weeks. I know from past experiences that I can get everything done in time if I follow my work schedule pretty precisely. 5 days throwing and turning, 2 days drying, then bisque firing and cooling, 2 days glazing and packing the glost kiln, one day firing, 2 days cooling and then unpacking and fly out home. It can be done! I know this, as it is my 5th visit here. In China, they don’t bisque fire, but spray the glaze on dry. They also fire over night, crash cool, by opening the door at top temperature and crash-cooling the kiln. They unpack and repack the next day. So a full cycle can be reduced to as little as just 8 days! If everything goes to schedule! 

Once the main body of work is thrown, I get to play with the new sericite samples. The apricot coloured one is very nice to throw but suffers from a tendency to split and crack if they are too thick. Too thick in this extreme case is anything over 5mm! This body may be only suitable for very small, thinly potted items, or so it seems? I try my hand at the special school mix that they have developed here that is a mixture of three sericites. This body was developed to make it as forgiving and easy to used as is possible. It is used for all the classes. The Porcelain Museum and Research Centre also has a teaching facility where members of the community, school children, aged care groups, retirees and even squads of Army soldiers come in and learn a little bit about the history and culture of this part of Korea. As complete beginners, the work that they make is sometimes a little bit heavy and somewhat clumsy. The blended teaching clay body that they use for the students is designed to be easy to use, forgiving of lack of technique and indestructible in drying. It works remarkably well. I really like it. I’m not properly trained in porcelain. I’m entirely self taught, so this kind of clay is a great advantage to me as a ‘blow-hard, wanna-be’ potter of average skills and insights. However, I really like the challenge of the single stone varieties, even though they are harder to use. I don’t always get successful results, but I love to learn new ways of compensating for their – and my – short comings and developing new skills in coping with their individual difficulties and character. Giacometti once said that every failure brings you one step closer to success. There just might be some sort of truth in that. If you persist!

The teaching ‘clay’ mix of 3 sericites, appears to be a little bit speckly when I cut through it. I’ll wait to see how it fires. It just might have some iron specks?  Although I don’t see any in the students fired works. Some of the students recognise me and remember me from my last few visits. They welcome me warmly. I’m impressed and thrilled to be included in their conversation, even if it is at the most basic of levels. One student even comes up to me and addresses me by name. He produces my book from behind his back and asks me to sign it for him.

The standard body, on the other hand, is rather fertile this time round, with some sort of organic growth in this well-aged sample. This is of course no problem and will fire out in the bisque.

I end my 5 days of throwing and turning with 45 finished pots from the 5 bodies. The apricot coloured clay continues to self destruct day by day afterwards, all I can do is sit and watch.

The pale coloured sericite body doesn’t like being wire cut, it stresses the clay particles too much and they tend to come apart as they dry out and start to shrink. It seems to lack cohesion? It doesn’t seem to be too much of a problem however, as the cracks are only surface splits and they are easily turned out. I have seen cracking just like this in Jingdezhen in their porcelain body, but in that case some batches of the clay are almost impossible to use without significant losses due to high rates of shrinkage cracking. Those cracks transferred all the way through the pot, so there was nothing that I could do to solve the problem. The Jingdezhen clay also has a tendency to chip and tear too, if turned anywhere near leather hard or softer. It benefits by being left a little bit longer to stiffen more, waiting until it is completely covered in the white drying rings, then it turns a lot easier and smoother. The whitest batch of the teaching mix is also prone to chipping when turned a little too soft. Just like the Amakusa porcelains from Arita.  

 

The staff who work here are so professional. Their skill levels are very high. The Post-Grad  students who study here after completing their Masters or PhD, are also extremely talented and dedicated. The quality of their work is exceptional after 3 to 5 years of post graduate specialisation in porcelain techniques in this place, they are very accomplished. I can’t impress anyone here with my amateurish skill levels. The thing I can impress is the clay. I use my initials and the Yanggu Seal to represent the workshop where my pieces are made. I impress the seal in to he clay. I love it. It’s such an ancient way of identifying pots, and this is a place with a very ancient tradition.

I am so lucky to be able to work here within this system of nurturing support – as a foreigner, an outsider. The Other! Not from here. These people embrace me and go to great lengths to engage with me and include me in their life, day to day. They include me in their lunch time meals in one of the local family kitchens each day. It has proven impossible for me to pay for even one of these meals. I offer, but no one will let me pay the bill. Everyone here is so open and generous. I wish that I could say the same for Australia’s treatment of refugees! People who really do need, comfort, help and support.

  

I make a suitable mess all over the floor, as the wheels here don’t have trays. I have no problem in throwing without a tray, I own a Japanese ‘Shimpo’ potters wheel at home, Although I don’t use it often, as I prefer to use the wooden kick wheel for most of my work. However, I have taught myself to use very little water when throwing and don’t ever seem to get any clay slip splatter on me or the floor and I never use a towel on my lap!

But trimming is another matter. I can’t stop the spirals going everywhere onto the floor as they effortlessly peel off from the razor sharp turning tool. I just get used to sweeping up at the end of the day.  After I have turned the last of my pots, I sit down and go through them and sort out a few obvious faults, mostly hair line cracks or slight warping. Then I give a little time to examining the forms pretty closely, as well as the weight and balance.

I cull and I cull. Each day I re-examine my work and trash a few more. I go through the almost dried work and cull another half dozen that are not up to scratch. No point in firing something with a form that isn’t as perfect as you can make it to begin with. Ceramics is the ultimate pollution. It last forever. Everything that we know about ancient cultures was dug up as ceramics! It won’t get any better with glaze on it. I will go through them again just before packing the bisque, once they are all fully dried. I may cull a few more!

I’m down to thirty pieces now, some of my forms were not sufficiently pleasing and didn’t pass muster. I’d like to come away with a dozen good exhibitable pieces for showing eventually.

My throwing time here is now ended, and the less interesting period of packing the bisque and bisque firing is coming up. I will have some spare time, so will start to write all this up.

It is such a honour to be able to work here with these amazing sericite materials. To get this unique experience, and possibly get to take home a few exotic, one-off pieces of unique sericite porcelain. Pots with a history that goes back 700 years on this site.

Bruised Butt Cheek Bones

Over summer we don’t go far. We stick around the house, just in case of bush fires. We concentrate on cleaning the gutters, servicing the fire pumps and working around the house and in the garden. It’s a very productive time of year in the vegetable garden with so much produce to harvest, preserve, cook, dry, bottle, vacuum seal. In March the fire danger is mostly over and we can relax and catch up on some music concerts and the Writers Festival.

We returned from Writes Week and WOMAD to find the garden gone mad and a lot of work needed to be done to get it all sorted out, cleaned up, weeded, mown, whipper snipped and mulched. I have it back in good shape now and most of the winter seeds and seedlings are planted for the approaching cold weather. Over summer, we don’t get into the pottery very much. Instead, it’s a time to use the heat for making clay, crushing rocks and ball milling porcelain stone, then drying that porcelain slip.

Now in April, we can start to think about firing the wood fired kiln again. The summer fire bans will soon be over and we can fire the wood kiln without restriction. We have been doing some firings. I have been firing our solar-powered electric kiln and reducing it with a few hundred grams of LP gas to get the reduced colours.

We have been back in the pottery for the past few weeks and started throwing again. I must say that the first couple of full days on the hard wooden seat of the “Leach” style wooden kick wheel leaves me with a couple of sore butt-cheek bones. I don’t think that they are bruised, but they sure get very tender after that first full day. It seems to take a week or so for them to toughen-up. Then I don’t notice it again till this time next year.

IMG_4719

I bought some sericite stones back with me from my trips to the UK and Korea last year. These stones are now processed and aged sufficiently to be able to consider throwing them. I always think that this time it will be different. This time I will be able to throw something better out of this wet gravel. I can’t! Every time it’s the same, I start off so optimistic. I’m sure I will be better at it. I’m Not! The stuff is just wet rock dust, I shouldn’t be surprised. But I am!

I struggle with it as it is and refrain from adding any bentonite into the mix. I should just get over it and give in, but I really want to make something authentic. Something that has some meaning in this post-truth, bare-faced lying, compromised, new world order of shallow poseurs, where everything is The Image and The Selfie. I know that what I’m living here has no value to anyone else but me, I persist. It’s the life I’ve chosen. It’s a challenge to make a nice pot from these original porcelain stones. Picked from the ground, in-situ by my very own hands, carted off in my back-pack and then brought home here and processed in my own equipment. Maybe if I aged these bodies for a decade, then it would be easier? I’m certain that it would. I have already done those tests a lot earlier in my career. I know it works. However, I’m not too sure that I still have a decade left in me. I strike a compromise and decide to make some very small beakers and some coffee cups. Now, I can almost manage these OK.

IMG_4693 IMG_4718

Last year, my friend Len and I imported a tonne of Chinese sericite. I have been going to China each year and renting studio space, making work, getting it fired on site – with mixed results, and carrying the best pots back in my hand luggage, to show at Watters Gallery and elsewhere.

Last year I felt so guilty about my carbon miles, making work in this way that I decided to buy the milled sericite in bulk and ship it here, This way I can stay at home and the clay can log up the carbon miles. I feel that it ought to be less damaging environmentally to ship a tonne of milled sericite stone by sea, than fly my meagre 80 kgs to and from China in a plane. Any way, I buy my $400 worth of carbon credits, just the same each year, to appease my conscience for my carbon crimes.

Buying the material in bulk sounded like a good idea at the time, but like all the best laid plans…. The stuff that arrived was totally different from what we had thought that we had bought, or ordered at least. Back in the beginning, we purchased a sample of the sericite and tested it. It was difficult to work with, but OK. White, semi-plastic, just. It fired white and translucent. We ordered a tonne of that thank you very much!

What arrived was grey, short, very soft and soggy, difficult to throw with and split and cracked in drying. Totally different material. I couldn’t see us shipping it back. We had already paid in advance. I had to make it work somehow. I tried throwing it in the usual way that I have learnt to work, but I lost over 90% of my pieces. I took a while, but I thought it over and came up with what I thought was a cunning plan. I thought about the ancient Chinese and how they coped with the short-comings of their early sericite porcelains. This was just the same, only re-located over 600 years in time and 12,000 kilometres in distance. The old tried and true answers are usually the best.

I tried a small batch in a blend with something that I thought had exactly the right characteristics. Hey presto. I now have a way of making a unique white, translucent, Chinese sericite based, porcelain of my own making. It’s one answer. It works for me.

IMG_4661 IMG_4662

What I still find perplexing and inexplicable, is that Len has no trouble in making perfectly fine pots out of his batch of this stuff with no problems, while I struggle. Obviously this sericite stuff responds to the hands of a true master craftsman but dumbfounds and perplexes a blowhard wannabe like me.

Korean Sericite

A couple of months ago, Janine and I were lucky enough to be invited to Korea to speak at a Porcelain  conference. We made the most of our opportunity and spent time in Seoul on our way to the conference to visit friends. I also made the most of this once-off, free travel opportunity, to re-visit one of the remote Sericite Porcelain Stone mining sites in Korea. This site dates back into the 1300’s. Sericite Porcelain has been mined there for over 700 years. I have visited this site before during my research trips, so I don’t need to put on my Indiana Jones hat and consult the ancient parchment map to get there. I know the way, at least I think that I do. I do have trouble convincing Janine of this though when we come to unexpected junctions in the track. We are tramping with our back-packs and although I have found my way here before, we just take the time to walk up a few dead ends into the hills, and retrace our steps a bit, before regaining the correct path. I managed to find my way here after the last conference and re-discover the site. I know that I can do it.

I must say that even though I’ve been here before, it’s amazing how easy it is to forget all the details of the way when you are out in the bush. I remember all the twists and turns in the various tracks that I need to follow to get there, but over time, things have change and the bush has grown over some landmarks, however, there are enough clues that come to mind at each change of direction, so that from time to time I recognise specific points along the way and I am convinced that I am still on the right path.

Eventually we find our way there. This ancient site is pretty damaged now, as the stone hasn’t been obtained from here for some time. I don’t know how long, but perhaps a couple of hundred years. However, there is still a small amount of the sericite embedded in the ground. There had been some heavy rain since I was last here and quite a few good large chunky samples have been exposed, so that I had no trouble filling my small pack with a couple of kilos of good clean samples. I hand pick the best and whitest bits from the dross that it is mixed with.

IMG_6886

IMG_3095Now that I’m home and have caught up with all my other more pressing life events. I have time to deal with this most recent research. I set about crushing and grinding these new samples. Prior to this, I have only collected a few hundred grams of stone, purely for analysis and academic research. This time I have enough to be able to throw a few pots.

IMG_3096  IMG_3097

Seiveing the fines from the crusher, before going to the mill.

IMG_3101  IMG_6535

I put the stones through the jaw crusher and then the disc mill, then finally through the ball mill. If I had more to deal with I would put the slurry out on the drying bed. But as I only have a couple of kilos of material, I put in into the plaster drying tubs to stiffen up.

This turns out to be a really fantastically plastic sericite. I can wedge it up using spiral kneading straight from the drying tub with no ageing. Amazing for 100% milled stone. It seems that Sericite can be as plastic as any other ‘clay’ – even though it isn’t! (clay, that is).

I was very impressed with the plastic sericite from Cheongsong in south Korea. That was the best single stone porcelain that I had ever experienced up to that time. However, I wasn’t allowed to see the mine site or any of the processing that was carried out, so I couldn’t draw any conclusion, other than to say that the experience of throwing it was excellent.

This time I’m absolutely sure of what I have in my hands and on the wheel in front of me as I have collected it direct from the soil with my own hands and done all the processing myself. It is very slightly floppy on the wheel, but this is to be expected for a very pure primary ‘clay’ – ground stone actually, with no ageing. It certainly works infinitely better than an ‘Eckalite’ china clay body prepared under the same conditions. I’ve been there and done that.

I might just add here that I have a batch of ‘Eckalite’ kaolin based porcelain body that I made 25 years ago. It was un-usable straight from the pug at that time. Floppy and useless. However, it has been ageing in the cool dark clay store now for all this time and it is quite plastic to throw with now. As good as anything else on the market these days. I only wish that I had made 10 tonnes of the stuff back then. It would have been totally worth it. I don’t have 25 years left in me now, so it’s pointless speculating as to what might have been.

Any young potters out there interested in materials and porcelain. I’ve done the research for you. Make use of it.

IMG_3356  IMG_3487

IMG_3488  IMG_3490img_3489.jpg

I have no trouble throwing it on the wheel, it is smooth, fine and creamy and stands up well for small items, keeping its shape and not slumping. If only I had discovered this stuff  20 years ago too! It would be amazing by now.

As far as I can ascertain, from what I have been told through translation. Nobody has used this stone for a few hundred years. It has almost archaeological significance, embedded in its remote, hidden hillside home. No-one in Korea has taken an interest in it as far as I can tell. There is only myself and the local Porcelain Museum Director who seem to have any fascination for ancient sericite porcelain. You’d have to be mad to go about doing research like this strictly for the sake of academic interest. It appears that I am that person who is mad enough. So I am going to donate the best of any successful pots from the firing to the Porcelain Museum for their collection. It will be the only pot made from this stuff for the past few hundred years. Here’s hoping that the firing is a good one.

.

For an extensive discussion of Sericite porcelain, I refer the reader to my book ‘5 Stones’ which details my 16 year research into sericite porcelain around the world.

Korea is such a great place

Janine and I have been invited back to Korea. I have been here several times to do research into Sericite porcelain. I was invited last year to give the Key Note address to the first International Porcelain Conference, along with other speakers from Japan and China, as well as local Korean presenters.

I have spent all my life researching the use of local stones and other endemic materials for use in ceramics. A somewhat weird but very interesting and rewarding hobby. I have spent the best part of the last 20 years specialising in research into the use of Sericite in single stone porcelain bodies. That research got me the guernsey to last years conference. While I was there, I gave a copy of my latest book ‘5 Stones’ to the director of the Porcelain Museum and Research Centre. It turned out to be a very rewarding gift, as Mr Jung, the Director of the Museum must have been impressed, he invited me back again this year to speak about the book.

The Yanggu Porcelain Museum and Research Centre together with sponsorship from the Yanggu Gangwondo Min Ilbo Daily Newspaper have bought the rights to translate and publish the book in Korea. We get free return tickets and an advance royalty so that we can meet with the translator and publisher to set out the ‘tone’ and final content of the Korean edition. The book is about my 15 year research in 5 countries investigating endemic sericite porcelain and its history over a thousand-year period.

The story takes place back and forth between China, Korea, Japan, the UK and Australia with plenty of asides and digressions as I blunder about like the proverbial bull in the China shop smashing my way through cultural niceties and taboos with some incompetence and plenty of ignorance. It’s not so much a scholarly work as a light-weight travel journal. I’m not too sure what the translator will make of the puns, ceramic in-jokes and Australian/Western cultural references. I have already done a Korean-sensitive re-write and edit to make it specifically more appropriate to a Korean reader. As it stood in the original edition, about a third of the book took place in Korea, as Korea is such a culturally fertile place for porcelain with its extensive ceramic history.

I was so lucky to have all the stars align for me a few years ago when I first decided to go to Korea and try my luck in finding a few sites where porcelain had been independently invented and developed locally. I couldn’t have been luckier as it turned out. One of my past students from the Art School, ‘Clauda’, has now become a very popular teacher herself and just happened to have a Korean student in her class. When she heard that I was planning a research trip to Korea, she asked her student ‘Jane’ if she had any contacts that might be helpful to me. It just so happened that Jane’s brother is a potter in Korea. He invited me to visit him and offered me work space in his studio. He also knew an under-employed ex-employee/friend who could speak good English and was interested in a temporary job as my driver and translator.

It couldn’t have worked out better. I was beyond lucky. Miss Kang turned out to be the most amazing person. Creative, enthusiastic, engaged, interested and as a ceramic graduate, knew enough about my interests to make excellent decisions and able to do research into each topic that I mentioned in our conversation as we drove about the country. I found her to be very quiet and reserved at first. Very measured in all her conversation. However, over the first few days of being crammed together in her small car, we developed a working relationship that turned out to be very productive.

As it turned out, my two-day offer of work organically developed into a very long road trip that lasted a couple of weeks and covered a lot of the county, as Miss Kang followed up leads on her phone, ‘googling’ and ‘Navering’ various locations and key words. Initially, she had no knowledge of sericite or single stone porcelain. Her knowledge was all of contemporary Korean ceramics. Together we learnt many things about Korean historical porcelain and its development. We discovered several historical porcelain stone sites and were able to collect a lot of samples for me to post back to Australia for analysis.

I had initially offered her this small job to drive me from near Seoul, down to the south of the country to visit an ancient porcelain site, stay over night and then she would return home, leaving me there to do research. I was to meet up with another Korean potter, Mr Ji, a contact that I had made remotely, by email, from Australia. Mr Ji lived locally, and it was he who was to take me to another site and so on, following whatever leads I could find. It was my intension to do all this other follow-on research by public transport. However, Miss Kang became interested in the detective work of the research and stayed on for the duration of where-ever the leads took me. I couldn’t have been more fortunate. She turned out to be one of the most resourceful people I have ever worked with. I couldn’t have written the Korean chapters of the book without her research.

Through this chain of fortuitous events, my book ‘5 Stones’ became a reality along with my exhibition at Watters Gallery of my porcelain. So here we are in Korea again for the 5th time. We have been given our return air fares to make another presentation at this years porcelain forum, meet the people involved in the funding and production of the book. Work with the translator, catch up with Mr Jung in Yanggu, take part in an extended wood firing in the Porcelain Centres traditional 5 chambered wood kiln, then also spend a weekend with Miss Kang in Seoul, as she has now become a good friend and we couldn’t visit Korea these days without taking time to catch up with her.

Korea is such a great place for me to be.

Cornwall and Devon

After leaving Wales, We drive to Cornwall to meet up with our old friend Joanie. It was Joanie who volunteered to be my ‘get-away-driver’ last year on my last visit. This time we know where we need to go and what to do to collect another few kilos of Sericite porcelain stone. It’s a trivial matter this time, rather than the week-long epic of last year.

While we have a few days with Joanie, we decide to walk over the causeway to St Michael’s Mount. It’s a really interesting place, we end up spending the entire day there and miss the return tide window of opportunity, so have to catch the small boat back at high tide.

IMG_1884 IMG_1901

The tide comes back in while we are still at the summit and we see people wading back  across the causeway in chest high water, until it becomes impossible.

IMG_1920

We enjoy lunch and afternoon tea on the island taking in the full tour of the old house/castle. A really enjoyable and informative day taking in all the history of the ancient site.

After a few very relaxed days with Joanie, we move on to Devon to visit our friend and fellow wood firer, Svend Bayer at this new pottery kiln site in Kigbear. Svend has decided to sell up in Sheepwash and move on to the next phase of his life. We really love the ancient thatched roof, cob cottage in Sheep wash, but times change, as do we, everything changes. We must adapt. It really is an exquisite place. So romantic!

We are lucky enough to get to see assembled, an amazing collection of Svend’s best works, collected over the last few years of firings here at Sheepwash.

IMG_2063 IMG_2061

IMG_2084 IMG_2086

IMG_2087

We are totally privileged and very lucky to turn up at just the right time to see all these wonderful, master works, before they are all exhibited and sold.

Svend’s new kiln, as might be expected, is pretty big. There are 5 potters sharing the kiln  firings at Kigbeare with Svend. It’s his way of training the next generation of wood firers, passing on the baton, by mentoring these lucky, and committed, next generation potters. It’s a huge kiln!

IMG_2025 IMG_2029

IMG_2035

IMG_2038

We are lucky to turn up on the day of the un-packing of the kiln. There are pots everywhere. So many nice things to temp us. It’s the end of an era and the beginning of another. We are so lucky to be here to experience this moment.

We spend a few days here. The next day Svend takes us to see the local Museum at Bideford, with a great collection of local earthen ware pots.

IMG_2069 IMG_2072

IMG_2073

Earthenware pots have been made here for hundreds and hundreds of years. This is the home of the famous Fremington terracotta clay.

We call in at the Post Office after visiting the gallery, as the post office is just across the road. I have 5kg of sericite porcelain stones in a cardboard box all taped up and ready for post. I can’t carry this extra weight home on the plane. Svend is visibly shocked to hear that I just paid Au$250 for postage! he enquires how I can do this? I reply that last year I did the same and when I got home I processed the stones into its unique porcelain body and managed to get 3 very good pieces out of the firing. I sold them for $900, $750 and $500 respectively, through my Show of ‘5 Stones’ at Watters Gallery in Sydney. They were nice pieces and found good homes. The return covered the cost of the postage, but not the 3 months of processing, making and firing.

Still. I don’t do this to make money. If I wanted to make money, I’d have got a job. I want to live an interesting, engaged and well-considered life. As long as we can get by, I’m happy.

Tomorrow we travel on, making our way slowly back towards London.

My New Book – 5 Stones

IMG_7383205 pages, 125,000 words, full colour, soft cover. Written, collated, printed and bound on the kitchen table. A very limited edition hand made book.

I have spent the last few weeks and months editing and formatting my new book. This will be my 6th book and 7th if I include my contribution to Handbook for Australian Potters.

This new Book is titled 5 Stones, and details my recent research into single stone porcelain. The book will be launched by Grace Cochrane at the opening of my show at Watters Gallery on Wednesday 16th of August from 6 to 8 pm. I have a selection of single stone porcelain from all 11 sites on show in the exhibition.

15 years ago, I discovered a white porcelain stone near where I live. It made me think about where else porcelain has been discovered and when. Over the past 15 years, I have travelled to each of the places in the world where porcelain was originally discovered/invented independently from first principles and found that they all had something in common, and that thing was a stone called ‘sericite’. It turns out that originally, porcelain wasn’t made from the white clay at all. Kaolin wasn’t involved. All the original porcelains were made from a special type of stone called mica.
My travels led me to China, Korea, Japan, Cornwall, France and Germany. I even developed communications with academics in California, Alaska and London. Then finally back to Mittagong in Australia. Near to where I started.  I have made my porcelain pieces out of these weird and interesting materials in remote villages, artist studios, back rooms, workshops, even factories. Where-ever I could track down and find amenable people using this ancient technique who were open to collaboration. 
At each site that I visited I made works out of the local porcelain stone, but I also used the opportunity to collect samples of their stone and posted these rocks back to Australia where I could process them myself and make local, contemporary versions of these ancient porcelains. I collected native porcelain stone material from 11 sites around the world and have made what I think are beautiful pots from them, both on-site, where that was still possible and back at home in my own workshop. 
This exhibition shows results of my firings and 15 years of research into these single-stone native porcelains. To coincide with this show I have written a travel journal documenting my travels. My book, titled ‘5 Stones’ will be launched at the opening by Grace Cochrane. The book stands alone in its own right as a travellers tale, as it has its own characters and arc of narrative, but also helps to illuminate the story behind the actual works on display in the show.
I have works in the show that were fired on-site in clean conditions to give very white and translucent pieces and I also have the same materials fired at home in my wood fired kiln with very different results.
4 of the 11 examples are made from porcelain that is no longer available, as 2 of the sites are lost forever and another two have complications.
I consider my self very lucky to have been able to get my hands on all of these ancient and very special porcelain materials. This will be the first and only time that all these porcelain ‘clays’ have ever been shown together in the one place.
DSC_0002_00004
Unglazed and flashed wood fired Arita porcelain
DSC_0003_01_00005
Wood fired and celadon glazed Japanese porcelain, fired in my kiln in Balamoral.
DSC_0022
Korean porcelain made onsite in Korea
DSC_0006_01_00007
Woodfired Japanese porcelain
DSC_0005_01_00006
My woodfired local Joadja porcelain, showing some carbon inclusion on rim and base.
DSC02831
Korean porcelain stone body, woodfired in my studio.
IMG_7238
Amakusa porcelain from Japan, made in Arita.
DSC_0025_01_00009
My local Joadja Aplite porcelain, wood fired with a lot of ember and ash contact. The intense carbon inclusion reduces the translucency.
DSC_0029_01_00010
My local Joadja Aplite porcelain, wood fired with ember and ash contact.

Home Again

I have had an amazing time in Korea. I was very lucky to meet such supportive and helpful people. Every thing had gone well this time and I am returning with a suitcase and back pack loaded with beautifully fired porcelain. So different from my last visit, in terms of the fired result.

IMG_7204 IMG_7201

IMG_7175

My last day starts foggy and overcast, but clears up.  I was walking back across the lawns from the research centre , back to the pottery workshop building , when I bumped into one of the support staff. A lady who I thought spoke very little English. I had heard her say “Australian Honey” out loud on my 2nd day in the workshop. I had given a small jar of honey to one of the staff members who had just helped me with a problem. I took several small jars of Australian varietal honey with me specifically to use as gifts. This lady saw the jar and read the label out loud. I heard this from the other side of the room and got another jar out of my back pack and presented it to her.

She asked if it was for her. I replied. “Yes, it’s a gift for you”.

She thanked me profusely, and that was the end of the matter. I didn’t have reason to speak to her again personally until now. She stopped me on the lawn and said to me in her basic English. “You leave today?”  I replied. “No, not today, tomorrow morning, very early, 7am.”

She explained to me that she only spoke a very little English, but wanted to thank me for the honey and say that I was nice to have around. She reminded me that I had helped her to move a heavy shimpo potters wheel, so she could do some cleaning under and around it.

It was very nice of her to say so, and to venture to initiate the conversation in a language that she was not proficient in. She told me that she was not Korean, but originally came from Japan and married a local Korean farmer.

I replied “So desu ka!” Is that so!, She did a double-take, blinked and replied “Anatawa Nihongo hanasamasuka?” Can you speak Japanese? I replied “sumimasen, watashiwa, Nihongo arimasen…choto dake” Not really – just a little.  It’s true, I don’t speak Japanese, but I can speak a few words, however, when I get my ear in, after I’ve been in Japan for a week or so. I realise that I can recognise a lot of words in what is being said around me, and I often know what it going on. Japanese is the only foreign language that I ever tried to learn by doing a bit of study. Some of it has stuck.

Suddenly we were off on a tangent talking in a weird mix of Japanese, English and Korean using my phone app. It was a completely unexpected, but warm and rewarding moment for both of us. I came away thrilled and very pleased at the intimate level of communication that had just evolved so organically and unexpectedly.

IMG_7177 IMG_7202

I go back to my room and start to clean up and pack my bags. I have a few clay samples that I have been drying on the heated floor of my room. I eventually get everything back into my bags, plus, I’ll be leaving with an additional 20 bowls and 5 kgs of clay. I’m ready for the early start tomorrow.

The sunset is lovely. The sky is clear. The last rays illuminate the rice and the poly tunnels, that so define this place. It’s a beautiful way to remember this pleasant valley.

IMG_7107

Inhwa and her husband turn up very early the next morning to give me a lift with another student to the bus terminal at Yang gu. My Jung turns up too! He has stopped off on his way to work, to say a final Good Bye. My return trip to Incheon airport out of this remote place on 3 busses all connects perfectly and I arrive at the airport earlier than I had allowed for. My return flight is uneventful, I just want it to be over with really. Sitting in a seat for 12 hours is very dull. Although I do manage to find a couple of hours sleep during the night. Probably my best effort so far at sleeping sitting-up while flying. Possibly because  didn’t sleep much the night before.  Maybe I’m getting better at this? Not that I want to practice it any more. I’m over it.

I’m home just before the solstice. I unpack my pots to show Janine and take a walk around the garden. The early peach has started to flower. It’s so amazingly early. The first job is to move some more big logs into the wood shed, closer to the splitter. The last time that  Idid this, a month ago. I smashed my finger. it still isn’t healed. The chickens are happy to come along and help with this job. But only because there are always a lot of bugs and creepy-crawlies under the bark for them to eat. They love the wood splitter. It provides fresh protein that wriggles all the way down. Yum!

IMG_7210 IMG_7231

IMG_7213 IMG_7223

They have absolutely no fear of machinery like the splitter. They really want to get their heads in there as soon they can, to get the first peck, but sometime the splitter blade hasn’t even finished coming down. I’m constantly brushing them away, but they swivel around and are straight back. They trust us – foolishly.

I think that they have no fear, because they have no brain. But they are sweet things to have around and they are good company.